A Study on Embroidery for the Reproduction of Court Dress According to the Regulations of the Gungnaebubonbu(宮內府本府) and Yesigwon(禮式院) in the Daehan Empire

This study aims to establish a foundational framework for the reconstruction of ceremonial attire used by officials of the Gungnaebubonbu and Yesigwon during the Deahan Empire. The research specifically focuses on the “Regulations on the Court Dress of the Gungnaebubonbu and Yesigwon” and the “Specifications for the Daeryebok(court dress) and the Soryebok(formal dress) of the Gungnaebubonbu and Yesigwon” both promulgated in February 1906. By integrating institutional analysis, artifact examination, and embroidery experiments, this study aimed to secure critical data for historical restoration. The findings were as follows: First, since its establishment in 1894, the Gungnaebu underwent numerous structural reorganizations, but despite the introduction of Western-style civil official dress codes in 1900, evidence suggests that officials continued to wear a mixture of traditional and Western-style Daeryebok depending on the specific administrative or diplomatic context. Second, the regulations introduced in 1906 appear to have been primarily intended for high-ranking officials, and officials of the Yesigwon who played central roles in diplomatic ceremonies, rather than the entire department. Third, an analysis of the "Park Gi-jun Daeryebok" held at the Seoul Museum of Craft Art, reveals that the Daeryebok took the form of a shawl-collared tailcoat, extensively decorated with intricate goldwork embroidery, for whitch sophisticated techniques, including cutwork, couching, and S-ing, were utilized. Finally, a reproduction experiment of a single plum blossom (Ewha) branch was conducted using materials and processes identical to the original artifact, the success of which confirmed the feasibility of a full-scale reconstruction. The results of this study are expected to contribute to the visualization of the Daehan Empire attire, providing valuable resources for exhibitions, historical education, and design applications through the tangible restoration of these cultural assets.